BGuthrie Photos: DC -- Donald W. Reynolds Center (NPG) -- Exhibit: Civil War

DC -- Donald W. Reynolds Center (NPG) -- Exhibit: Civil War:

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. SIPGCW_110226_005.JPG: Winter-Quarters in Camp -- The Inside of a Hut, from Harper's Weekly, January 24, 1863 Winslow Homer
2. SIPGCW_110226_012.JPG: Expulsion of the Negroes, from Harper's Weekly, December 15, 1860 Winslow Homer
3. SIPGCW_110226_027.JPG: Our Army before Yorktown, Virginia, from Harper's Weekly, May 3, 1862 Winslow Homer
4. SIPGCW_110226_061.JPG: General Thomas Swearing in the Volunteers Called into the Service of the United States at Washington, DC from Harper's Weekly, April 27, 1861 Winslow Homer
5. SIPGCW_110226_073.JPG: Colonel Wilson, of Wilson's Brigade, from Harper's Weekly, May 11, 1861 Winslow Homer
6. SIPGCW_110226_103.JPG: Carry Me and I'll Drum It Through 1874 Truman Howe Bartlett The sounds of the Civil War resonate from this sculpture. A tired soldier sloshes through the mud of a debris-strewn battlefield, his coattail flapping in the relentless wind. He pushes onward with the roll of the little boy's drum and the call of his energetic voice. Well into the nineteenth century, armies recruited young boys to perform drum rolls signaling different commands. During the Civil War and in the following decades, the "drummer boy" was a favorite inspirational subject, appearing often in popular stories and images. By 1874, the story that Bartlett's sculpture illustrates was well known. The drummer boy was found by a passing soldier, who asked him why he had stopped. The boy bravely replied, "I am wounded. But carry me and I'll drum in through."
7. SIPGCW_110226_121.JPG: The Advance Guard of the Grand Army of the United States Crossing the Long Bridge over the Potomac at 2am on May 24, 1861, from Harper's Weekly, June 8, 1861 Winslow Homer
8. SIPGCW_110226_128.JPG: Home from the War, from Harper's Weekly, July 13, 1863 Winslow Homer
9. SIPGCW_110226_141.JPG: Our Women and the War, from Harper's Weekly, September 6, 1862 Winslow Homer
10. SIPGCW_110226_162.JPG: The Army of the Potomac -- Our Outlying Picket in the Woods, from Harper's Weekly, June 7, 1862 Winslow Homer
11. SIPGCW_110226_177.JPG: Little Soldier 1864 Eastman Johnson
12. SIPGCW_110226_184.JPG: Lee Surrendering to Grant at Appomattox about 1870 Alonzo Chappel
13. SIPGCW_110429_005.JPG: The Patent Office Building during the Civil War This stereo view shows wagons loaded with supplies parked on F Street in front of the Patent Office. Bierstadt Brothers, c 1861
14. SIPGCW_110429_009.JPG: Patent Office Building, now the National Portrait Gallery and the Smithsonian American Art Museum: As Union troops poured into Washington in the early days of the Civil War, they were billeted temporarily in the US Capitol and other government buildings. In April and May of 1861, the First Rhode Island Regiment, commanded by Colonel Ambrose E Burnside, was quartered in the third-floor west wing of the Patent Office Building. After the battles of Manassas, Antietam, and Fredericksburg, hospital beds were set up throughout the building for wounded soldiers. Poet Walt Whitman, later a government clerk in the building, visited the patients here, reading to them and bringing gifts of food and paper. On March 6, 1865, as the war was nearing its conclusion, the Patent Office Building was the site of Abraham Lincoln's second inaugural ball. Edward Sachse & Co, c 1855
15. SIPGCW_110429_019.JPG: Mathew B Brady, 1823?-1896 During periodic visits to the front, Mathew Brady directed the operations of the Civil War cameramen whose photographs would later carry the Brady credit line. On several occasions, Brady chose to portray himself in the company of leading Union army officers. In these stereographs issued by E & H T Anthony & Co from negatives by Brady & Co, the famed photographer is pictured with General Ambrose Burnside at the headquarters of the Army of the Potomac, near Richmond, and with General Samuel Heintzelmen and his staff at Arlington House, Virginia. Self-portraits, c. 1863
16. SIPGCW_110429_038.JPG: Alfred R. Waud, 1828-1891 Armed with a pencil and a sketchbook, artist-correspondent Alfred Waud created an incomparable record of the Civil War with his illustrations for two of the nation's leading news weeklies. Working first for the New York Illustrated News (1860-61) and then for Harper's Weekly , Waud accompanied the Army of the Potomac on all its major campaigns, from its defeat at the First Battle of Bull Run in 1861 to its victory at the siege of Petersburg in 1865. At a time when technical limitations made combat photography impractical, Waud produced highly detailed sketches that captured all the fury and chaos of the battlefield. When translated to the printed page in the form of wood engravings, Waud's renderings gave readers an eyewitness view of the war as it unfolded. Mathew B Brady, c. 1865
17. SIPGCW_110429_045.JPG: Passes issued to artist Alfred Waud: Dating from 1862, 1864, and 1865, three passes issued to Alfred Waud help document his movements while working as a "special artist" for Harper's Weekly during the Civil War. A handwritten note from Captain John T. Wilson of Company A, Fiftieth Regiment, Georgia Volunteers, grants Waud "permission to return to the Federal lines" after he was detained by Confederate forces at the Second Battle of Bull Run in August 1862. A War Department pass dated November 25, 1864, authorizes Waud and photographer James Gardner to travel to Virginia's Fortress Monroe, where the artist later sketched the departure of Admiral Porter's fleet. The pass issued by the Provost Marshal General's Office on April 8, 1865-one day before Lee's surrender at Appomattox-permits Waud "to pass . . . to within the lines of the Armies including Richmond & Petersburg, VA for the purpose of Artist's Sketching for Harper's."
18. SIPGCW_110429_061.JPG: Carte de visite portraits of Confederate generals: During the Civil War, the Union blockade of southern ports effectively halted the flow of most goods, including materials needed by Confederate photographers to continue their operations. Although some photographic supplies were smuggled through, by January 1862 it was reported in the North that "the Photographic Art down South has completely died out in consequence of the war." Because southern cameramen had virtually "nothing to work with," photographs representing Confederate leaders, such as these portraits of generals Jubal A Early, Fitzhugh Lee, and Edmund Kirby Smith typically circulated in the form of retouched copy images produced in the North by firms such as E & H T Anthony rather than as original life portraits created in the South. Unidentified photographers, c 1862-65
19. SIPGCW_110429_076.JPG: Belle Boyd, c 1844-1900 Belle Boyd was one of the Confederacy's most well-known spies. She first attracted the notice of occupying Union troops in her hometown of Martinsburg, Virginia, in July 1861 when she shot and killed an abusive soldier for attempting to replace the Confederate flag at her house with the Federal banner. As a result, Union guards were detailed to protect the property. In the months that followed, Boyd, who was not yet twenty, took full advantage of being in the midst of Yankees to eavesdrop and gather military information, which she smuggled, sometimes personally, to nearby Southern camps. Boyd's derring-do led to her arrest and imprisonment on several occasions and won her notoriety in both the South and North. In May 1864, Boyd sailed to England, became an actress, and published her memoirs, Belle Boyd in Camp and Prison (1865). Unidentified artist, c 1864
20. SIPGCW_110429_081.JPG: Barbara Frietchie, 1766-1862 Barbara Frietchie has been a legendary national heroine ever since John Greenleaf Whittier published a poem about her in the Atlantic Monthly in October 1863. According to Whittier's famous verse, in September 1862 Frietchie waved the American flag from her house in full view of Confederate general Stonewall Jackson as he marched his troops down her street in Frederick, Maryland. Jackson was so impressed with Frietchie's courage that he ordered his men not to harm either the ninety-six-year-old woman or her flag. In reality, however, the story of Barbara Frietchie has little historical basis; Jackson most likely never rode past Frietchie's house. Nevertheless, her reputation as a Union patriot has become firmly entrenched in Civil War lore. Jacob Byerly and Son, c 1862
21. SIPGCW_110429_088.JPG: Benjamin F. Butler, 1818-1893: Benjamin F. Butler was a Massachusetts politician who, as a delegate at the Democratic presidential convention in the spring of 1860, voted for Jefferson Davis on the first fifty-seven ballots. A year later, at the start of the Civil War, Butler was one of the first to answer President Lincoln's call for troops to protect Washington. Appointed a major general of volunteers by a president desperate to find able officers, Butler proved to be largely inept at military command. Ultimately, General Grant requested Butler's removal late in the war, and Lincoln sent him back to his home in Massachusetts. This photograph shows Butler as commander of the Army of the James and was likely taken when he was encamped south of Richmond in 1864. Butler had a crossed eye and always preferred to be photographed in profile. Unidentified photographer, c. 1864
22. SIPGCW_110429_097.JPG: The Council of War In this group sculpture, General Ulysses S. Grant (standing, left) lays out his plans for an unrelenting campaign against the Confederacy in Virginia and throughout the South to Secretary of War Edwin Stanton and a seated President Lincoln. Stanton described this actual meeting, or council of war, which occurred in Washington in August 1864. The artist [John Rogers ] patented this sculpture in 1868 and sold plaster replicas such as this one for twenty-five dollars.
23. SIPGCW_110429_124.JPG: Jefferson Davis, 1808-1889 While traveling in the United States in 1849, English-born artist George L. Saunders painted this miniature of the future president of the Confederacy, Jefferson Davis. At the time, Davis was a senator representing Mississippi. A few years afterward, a contemporary recorded this impression of Davis: "His slender, tall and erect figure, his spare face, keen eyes and fine forehead . . . presented the well-known strong American type. There was in his bearing a dignity which seemed entirely natural and unaffected, that kind of dignity which does not invite familiar approach but will not render one uneasy by lofty assumptions." George Lethbridge Saunders, 1849
24. SIPGCW_110429_134.JPG: Varina Howell Davis, 1826-1906 Varina Howell was a young woman of lively intellect and polished social graces who married Jefferson Davis when she was at the age of eighteen. As the wife of the president of the Confederacy, she lived in Richmond during the Civil War and admirably fulfilled her three primary roles as an affectionate spouse to a proud and sensitive husband, an attentive mother to five young children (two of whom were born during the war), and a socially engaging first lady. John Wood Dodge, 1849
25. SIPGCW_110429_143.JPG: Colonel Burnside and the First Rhode island Militia, near Washington, DC 1861 At the start of the Civil War, West Point graduate Ambrose Burnside was given command of the First Rhode Island Volunteer Infantry, which he led in the First Battle of Bull Run. He became a favorite of President Abraham Lincoln's, was given charge of an expedition against Confederates along the North Carolina coast, and rose to the position of major general of volunteers upon that expedition's success. In November 1862, over his own protests, Burnside was made commander of the Army of the Potomac. Shortly after his crushing defeat at Fredericksburg, the following month he was replaced by General Joseph Hooker. Later, in command of the Department of the Ohio, he ably defended Knoxville, and in 1863, under Ulysses S. Grant, he helped defeat Braxton Bragg at Chattanooga. But Burnside's poor performance at Petersburg in 1864 ultimately brought about his resignation from the service. Unidentified photographer, 1861
26. SIPGCW_110429_159.JPG: John J. Crittenden, 1787-1863: During the campaign of 1860, many southerners declared that Abraham Lincoln's election to the presidency would give them no choice but to secede from the Union. One notable exception was Kentucky senator John Crittenden. This passionate advocate of national unity undertook the task of reaching an accommodation designed to derail the secession movement of 1861. Central to his plan was a proposal that would have permanently guaranteed the rights of slaveholders below the nation's 36�30' parallel. By now, however, bitterness over the slavery question ran too deeply, and neither North nor South could accept this conciliating measure. Instead, Crittenden had to content himself with ensuring that his own Kentucky did not secede; it was largely through his exertions that this state remained loyal to the Union after most of the South had left. George Peter Alexander Healy, 1857
27. SIPGCW_111208_02.JPG: Wounded to the Rear, One More Shot John Rogers
28. SIPGCW_111208_23.JPG: The Council of War The idea for this group sculpture of General Ulysses S. Grant (left) and Secretary of War Edwin Stanton standing behind the seated President Lincoln came from information provided by Stanton himself. Stanton, described an actual meeting or council of war in Washington in August 1864 at which Grant laid out his plans for an all-out, unrelenting campaign against the Confederacy in Virginia and throughout the South. John Rogers patented this sculpture called The Council of War in 1868, and sold plaster replicas such as this one for twenty-five dollars. John Rogers, c 1873 cast after 1868 original
29. SIPGCW_111208_44.JPG: Lee Surrendering to Grant at Appomattox, about 1870 Alonzon Chappel
30. SIPGCW_111208_52.JPG: Carry Me and I'll Drum It Through, 1874 Truman Howe Bartlett The sounds of the Civil War resonate from this sculpture. A tired soldier sloshes through the mud of a debris-strewn battlefield, his coat tail flapping in the relentless wind. He pushes onward with the roll of the little boy's drum and the call of his energetic voice. Well into the nineteenth century, armies recruited young boys to perform drum rolls signaling different commands During the Civil War and in the following decades, the "drummer boys" was a favorite inspirational subject, appearing often in popular stories and images. By 1874, the story that Bartlett's sculpture illustrates was well known. The drummer boy was found by a passing soldier, who asked him why he had stopped. The boy barely replied, "I am wounded. But carry me and I'll drum it through."
31. SIPGCW_111208_58.JPG: Abraham Lincoln, modeled 1887 Augustus Saint-Gaundens
32. SIPGCW_111208_67.JPG: Memorial to Major General George Gordon Meade (preliminary model), 1915-25 Charles Grafly
33. SIPGCW_111208_75.JPG: Little Soldier, 1864 Eastman Johnson
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Description of Subject Matter: Two of the threads running through the United States before the Civil War were the principle of union and the reality of slavery. In the North, Americans insisted on union above all else; in the South, Americans insisted on slavery above all else; and in the great American West, pioneers and sellers were left to choose between the two.
The Americans represented in this gallery felt strongly about these issues of liberty, union, and slavery. One of them, John Brown, did as much as any single person could do to push the divided nation to the brink of secession and civil war.

Abraham Lincoln's election to the presidency in November of 1860 enraged radical southern leaders, who fiercely defended the institution of slavery. As the Republican Party candidate, Lincoln wholly endorsed his party's platform to ban the extension of slavery into the western territories. Although he clearly stated his intention not to interfere with slavery where it already legally existed, southern extremists did not trust the new president-elect. In response, southerners enacted their doctrine of states' rights: "The Union Is Dissolved!" proclaimed the Charleston Mercury on December 20, 1860, when South Carolina became the first of eleven states to secede. A call to arms on both sides followed on the heels of secession. "Both parties deprecated war," President Lincoln reflected four years later in his second inaugural address, "but one of them would make war rather than let the nation survive; and the other would accept war rather than let it perish. And the war came."

Lincoln and His Cabinet:
Upon entering the office of the presidency, Abraham Lincoln had every reason to feel skeptical about the ultimate success of his administration. Faced with a civil war, responsibility rested on his angular shoulders as it had done with no other American president before or since. Moreover, Lincoln had to win control over his cabinet, which at the start was at odds with him and with itself: three of the seen members had been Lincoln's rivals for the party's nomination, and four of the seven had at one time belonged t the Democratic Party. In selecting men who were his political equals, Lincoln was putting his leadership ability to an early and critical test. His successful management of this "team of rivals" for the good of the nation was a supreme test of his self-confidence and mastery of men.

Winslow Homer's Civil War Engravings:
In 1861 and 1862, Winslow Homer made sketches of camp life and skirmishes between Union and Confederate soldiers. His sketches captured the homesickness, numbing routine, and sudden violence of the conflict. The engravings made from his sketches and published in newspapers and magazines often romanticized the realities of the war, but eager readers welcomed these glimpses of the conflict. Homer also made wood engravings of events at home during the war, often focusing on absent soldiers and the war effort in New York.
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